Sangre, cuchillos, y tetas --- Horror Film Discussion

[Dead & Messed Up]

It's easily the most lurid pre-code picture I've seen. I mean my god, that POV strip-tease!

No kidding, and that ability to be erotic adds to the picture tremendously. I was stunned to find a 1931 film show a very real threat of rape. And March's performance is incredible.

[Bosco B Thug]

The Sentinel

If you thought The Omen was overwrought, take note: The Sentinel is even worse (or better). Cristina Raines stars as Alison Parker, a beautiful model who's desperate for a reasonable New York rent. She finds the ideal room, with one small caveat: it's the gateway to Hell. Proof: in one scene, she watches helplessly as Beverly D'angelo masturbates to orgasm. Chris Sarandon plays Alison's boyfriend Michael, bringing a sturdy confidence that would later work as villainy (The Princess Bride) and heroism (Child's Play). Uncomfortable scenes with deformed people playing Hell's denizens are thankfully balanced by the bizarre star power. Balsam! Gardner! Walken! Goldblum! Together at last!

B-

I keep on telling myself I need to see this movie. I'm expecting an experience as if I'm thick in the after-orgy guilt felt by all the stars in this movie following some ritzy Hollywood hills party. This movie would be the impregnated abstract-concept Hollywood's aborted fetus.

But like The Manitou, I keep on putting it off because I feel as if it's bizarre and inconsequential enough that it will eventually find me instead of vice versa.


Shocker - Wes Craven is the showman of the horror auteurs. He's modish and trendy and he shows it in his horror films. He's also a goofball, though, and a sucker for novelty, and that shows most explicitly in Shocker. Mitch Pileggi tries to be the next Freddy Krueger, and this film just made me further appreciate the more abstract approach to horror of Tobe Hooper, who tackled technology fears much more artfully in his Spontaneous Combustion.

[Dead & Messed Up]

Just for posterity: the top-rated horror films of the decade:

1. Pan's Labyrinth - 95%
2. Drag Me to Hell - 95%
3. Brand Upon the Brain! - 93%
4. [Rec] - 93%
5. The Devil's Backbone - 92%

[Winston*]

Just for posterity: the top-rated horror films of the decade:

1. Pan's Labyrinth - 95%
2. Drag Me to Hell - 95%
3. Brand Upon the Brain! - 93%
4. [Rec] - 93%
5. The Devil's Backbone - 92%

Let the Right One In has 98%.

[Winston*]

And if you go by metacritic

1. Pan's Labyrinth (2006) 98
2. Host, The (2007) 85
3. Drag Me to Hell (2009) 83
4. Requiem (2006) 82
5. Let the Right One In (2008) 82

[Dead & Messed Up]

Let the Right One In has 98%.

Odd. Maybe my parameters were off. Anyway, my point is Drag Me to Hell is good.

[Bosco B Thug]

Orca: The Killer Whale is a bad movie. Plain and simple. Bad technical filmmaking. Bad execution of ideas. Silly silly.

It's got some defenders, though, because it's a really weird movie. It's a quasi-poetic statement film and character study that tries its inept best to be literate. It's got more elements from Moby Dick and the 'Rhyme of the Ancient Mariner' than Jaws (although it is undeniably a cash-in on that film's success) for it builds to a third act that moves and concludes with the air of a Shakespearian tragedy, despite having some of the clunkiest dialogue I've ever heard.

Plus, here's Alex Jackson's review of the film, and I'm always in for some perspective on the quality of Spielberg as a filmmaker (he targets Jaws here, if you're wondering).

Between this, Mark Robson's Earthquake, and Stephen Hopkins' A Nightmare on Elm Street: The Dream Child, I'm beginning to wonder if the studio B-movie is the last hiding place for genuine unaffected humanist sentiment. I've seen much better films, mind you, but few as weirdly unshakeable as these.

He's a nut, but I love this thought.

[The Mike]

Drag Me to Hell was amazing. I haven't been made this giddy by a movie in a long, long time.

While watching it I kept comparing Raimi to Hitchcock in my head, particularly in how so many of his films feel like a "greatest hits" compilation, reusing the right ideas at just the right time.

Can't wait to go again.

[Dead & Messed Up]

Drag Me to Hell was amazing. I haven't been made this giddy by a movie in a long, long time.

While watching it I kept comparing Raimi to Hitchcock in my head, particularly in how so many of his films feel like a "greatest hits" compilation, reusing the right ideas at just the right time.

Can't wait to go again.

[

Show Spoiler

When, at the end, demons fucking dragged her into Hell, I couldn't believe my eyes. I wanted to cheer. And dude - the talking goat! Talking goat!

]

[The Mike]

[

Show Spoiler

When, at the end, demons fucking dragged her into Hell, I couldn't believe my eyes. I wanted to cheer. And dude - the talking goat! Talking goat!

]

[

Show Spoiler

Plus, that final shot of Long, ripped apart inside by witnessing it (and having his entire scientific background disproven), clutching the cursed item that brought this all about and crying.....oh my god. I was in awe.

And how 'bout the wire work when the assistant was possessed? I thought I was watching Evil Dead for a second!

]

Seriously you all, go see it.

[Dead & Messed Up]

[

Show Spoiler

Plus, that final shot of Long, ripped apart inside by witnessing it (and having his entire scientific background disproven), clutching the cursed item that brought this all about and crying.....oh my god. I was in awe.

And how 'bout the wire work when the assistant was possessed? I thought I was watching Evil Dead for a second!

]

[

Show Spoiler

Dude, he was mostly just playing nice boyfriend, but that last shot of him was fantastic.

Loved the Lamia's resemblance to the monster from Curse of the Demon.

That whole seance sequence was great. As soon as they moved into that Hill House looking space, I was like, "Oh, this is about to get awesome." And it did. The guy looked exactly like a Deadite.

]

I can't wait to talk about this flick without spoilers. ARGH, it was so much fun!

[The Mike]

[

Show Spoiler

Dude, he was mostly just playing nice boyfriend, but that last shot of him was fantastic.

Loved the Lamia's resemblance to the monster from Curse of the Demon.

That whole seance sequence was great. As soon as they moved into that Hill House looking space, I was like, "Oh, this is about to get awesome." And it did. The guy looked exactly like a Deadite.

]

I can't wait to talk about this flick without spoilers. ARGH, it was so much fun!

[

Show Spoiler

Yeah, the final shot pretty much justified Long being in the movie, before that he was just kinda there (Though I did love the simple "This place doesn't have what I'm looking for, a shriveled tiny monkey head...." line.)

And I want the shot from right after the medium states "There are others here with us" as an all-time desktop background. Beautifully haunting.

]

[The Mike]

This reminds me of Die You Zombie Bastards!

If that's her on the far right, Amanda Wyss has NOT aged well.

[Dukefrukem]

[

Show Spoiler

Yeah, the final shot pretty much justified Long being in the movie, before that he was just kinda there (Though I did love the simple "This place doesn't have what I'm looking for, a shriveled tiny monkey head...." line.)

And I want the shot from right after the medium states "There are others here with us" as an all-time desktop background. Beautifully haunting.

]

What the heck guys I want in too!

[

Show Spoiler

The scene with the Deadite on wires was my favorite part of the movie. I was doing the same thing... giggling and smiling and couldn't wait for what was next. Did you guys think that first scare at the fortune tellers place was a cheap scare? Or did you think it was cleverly placed? The movie theater I went to had the volume MAXED out for this movie so that scene completely caught me off guard.

I also loved the shadow of the demon on the walls as it was coming up the stairs, and then again under the door. What an awesome effect.

Also another question, i couldn't hear because the stupid brats behind me were talking, but what did she yell out as she was driving to the cemetery? before the handkerchief hit the windshield? Did she yell out "come get some"?

]

[The Mike]

What the heck guys I want in too!

[

Show Spoiler

The scene with the Deadite on wires was my favorite part of the movie. I was doing the same thing... giggling and smiling and couldn't wait for what was next. Did you guys think that first scare at the fortune tellers place was a cheap scare? Or did you think it was cleverly placed? The movie theater I went to had the volume MAXED out for this movie so that scene completely caught me off guard.

I also loved the shadow of the demon on the walls as it was coming up the stairs, and then again under the door. What an awesome effect.

Also another question, i couldn't hear because the stupid brats behind me were talking, but what did she yell out as she was driving to the cemetery? before the handkerchief hit the windshield? Did she yell out "come get some"?

]

[

Show Spoiler

Yeah, the whole movie was crazy loud here too. Lot of stingers, but I didn't find them cheap. I got a little annoyed by the randomness of lots of events at once followed by long stretches of nothing, but I think that added to the power of the flick.

The shadow work, especially in that scene was great. And yeah, I think she said "Come Get Some."

I kinda wished it ended in the graveyard, but then the real ending was sooooo good. ritch:

]

[Dukefrukem]

[

Show Spoiler

Yeah, the whole movie was crazy loud here too. Lot of stingers, but I didn't find them cheap. I got a little annoyed by the randomness of lots of events at once followed by long stretches of nothing, but I think that added to the power of the flick.

The shadow work, especially in that scene was great. And yeah, I think she said "Come Get Some."

I kinda wished it ended in the graveyard, but then the real ending was sooooo good. ritch:

]

[

Show Spoiler

The ending was fucking awesome. Damn I'm def gonna hafta see this again.

]

[Spun Lepton]

*shakes an angry fist at all the spoilers*

[

Show Spoiler

GRRRRR!!!

]

[Bosco B Thug]

[

Show Spoiler

Yeah, the final shot pretty much justified Long being in the movie, before that he was just kinda there (Though I did love the simple "This place doesn't have what I'm looking for, a shriveled tiny monkey head...." line.)

]

[

Show Spoiler

Yeah, I'll give the film the strength of its ending. It's quite the sucker punch. That final shot of Long (not to mention Christine's decaying face) is horrific.

]

[jenniferofthejungle]

Grrr, spoiler tags.


I finally forced myself to watch The Signal, and even though I wasn't expecting the greatest of movies it was still incredibly disappointing. It was told from three different viewpoints, and with shifting timelines (lots of flashbacks) but I am not convinced that the disjointed feel was deliberate. I think it was simply a mess of a movie that the directors didn't quite know how to put together.

I'll watch it again before dismissing it, but I am pretty sure my negative reaction will be permanent.

[megladon8]

That's too bad to hear, Jen...but I'm also glad to know that it was wise not to have splurged and bought a copy full price when it came to DVD.

I remember we were so close to seeing this theatrically instead of Cloverfield. We definitely made the right choice

[Rowland]

I finally forced myself to watch The Signal, and even though I wasn't expecting the greatest of movies it was still incredibly disappointing. It was told from three different viewpoints, and with shifting timelines (lots of flashbacks) but I am not convinced that the disjointed feel was deliberate. I think it was simply a mess of a movie that the directors didn't quite know how to put together.

I'll watch it again before dismissing it, but I am pretty sure my negative reaction will be permanent.

Yeah, I was actually surprised by how much I hated most of it. Only the first segment was any good, establishing the outbreak through economic, visceral means, but the second's insufferably ill-advised amalgam of broad satire and sadism had me gritting my teeth, while the final third is merely lazy bordering on incoherent, albeit with a nifty closing shot.

[Rowland]

So, Martyrs... I can't recall the last time I've almost had to look away from the screen. Even Inside didn't manage that feat for these desensitized eyes. Anyway, after my viewing last night I was quick to dismiss the controversial second half as pretentious wankery, and yet it has, along with its remarkably tense conjoining half, lingered in my mind on and off all day, enough so that I'm nearly compelled to subject myself to it all again, perhaps against my better judgement. Even if Laugier's thematic concerns and the methods through which he explores them often feel as cynical and contrived as they do genuinely provocative, this utterly bonkers genre mash-up isn't easy to dismiss.

[MacGuffin]

So, Martyrs... I can't recall the last time I've almost had to look away from the screen. Even Inside didn't manage that feat for these desensitized eyes. Anyway, after my viewing last night I was quick to dismiss the controversial second half as pretentious wankery, and yet it has, along with its remarkably tense conjoining half, lingered in my mind on and off all day, enough so that I'm nearly compelled to subject myself to it all again, perhaps against my better judgement. Even if Laugier's thematic concerns and the methods through which he explores them often feel as cynical and contrived as they do genuinely provocative, this utterly bonkers genre mash-up isn't easy to dismiss.

No, it's not. Rep for you. What an ending, huh? I wasn't as affected as it as a whole like some seem to be, but I won't deny it's power, which seems to be increasingly rare for horror movies lately (not that it makes them any worse, but so many of these French horror movies seem to specialize in generating tension rather than genuine emotion).

[Dukefrukem]

So, Martyrs... I can't recall the last time I've almost had to look away from the screen. Even Inside didn't manage that feat for these desensitized eyes. Anyway, after my viewing last night I was quick to dismiss the controversial second half as pretentious wankery, and yet it has, along with its remarkably tense conjoining half, lingered in my mind on and off all day, enough so that I'm nearly compelled to subject myself to it all again, perhaps against my better judgement. Even if Laugier's thematic concerns and the methods through which he explores them often feel as cynical and contrived as they do genuinely provocative, this utterly bonkers genre mash-up isn't easy to dismiss.

Yes!

No, it's not. Rep for you. What an ending, huh? I wasn't as affected as it as a whole like some seem to be, but I won't deny it's power, which seems to be increasingly rare for horror movies lately (not that it makes them any worse, but so many of these French horror movies seem to specialize in generating tension rather than genuine emotion).

I think it's because we have no idea where they're going with it. THen when we finally find out, the idea to put someone through it is almost as shocking as the events we already witnessed. It's truly in a league of it's own.

[Rowland]

I just happened across an mp3 of Dave Matthews' theme for Joshua, titled The Fly. It's a haunting little tune, makes me want to revisit the movie, which I found rather disturbing both as a surface horror picture, infused as it is with such disconcertingly discordant formal techniques, and for its dramatic implications, teeming with multifaceted subtexts that paint an incredibly sad portrait of a failed nuclear family. "You know, you don't have to love me." In all, a nearly brilliant subversion of the previous year's schlocky Omen remake.